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objectivity

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Journal Articles
19th-Century Music. 2019; 43299–120 doi: https://doi.org/10.1525/ncm.2019.43.2.99
Published: 01 November 2019
...David Trippett In 1878, at the height of his fame, Helmholtz asked what was objective in perception, declaring that—in contrast to empirical science—it is the “artist [who] has beheld the real.” His lecture sought to show how sensory perception can be law-like, and how the effects of art are...
Journal Articles
19th-Century Music. 2020; 433143–169 doi: https://doi.org/10.1525/ncm.2020.43.3.143
Published: 01 March 2020
... mask became a ubiquitous item of decor for the music room, a devotional object linked with the face of Christ in the popular imagination. This mislabeled “death” mask was cast during Beethoven's lifetime, a stoic visage that put a face to the legend: that is, to the legendary 1868 account by Anselm...
Journal Articles
19th-Century Music. 2020; 433210 doi: https://doi.org/10.1525/ncm.2020.43.3.210
Published: 01 March 2020
... Introduction: Ideas and Matter 63 Trippett, David Sound as Hermeneutic, or Helmholtz and the Quest for Objective Perception 99 Weitz, Shaena Propaganda and Reception in Nineteenth-Century Music Criticism: Maurice Schlesinger, Henri Herz, and the Gazette musicale 36 19th Century Music, vol. 43, no. 3, pp. 210...
Journal Articles
19th-Century Music. 2020; 433194–208 doi: https://doi.org/10.1525/ncm.2020.43.3.194
Published: 01 March 2020
... imagined. To say rhetoric of seduction is to discuss the language of the body a textualized, mate- rial body, a body that speaks itself into existence, a body that penetrates its listening objects with its voice. It is my intention, by focusing on femmes fatales episodes of seduction, to reeval- uate...
Journal Articles
19th-Century Music. 2020; 433170–193 doi: https://doi.org/10.1525/ncm.2020.43.3.170
Published: 01 March 2020
... by 1834 he had distanced himself from the idea of program music. His conflicting statements have plagued Schumann experts, including John Daverio, who held in 1997 thatPapillonshas been the object of more concentrated attention than perhaps any other of his works. 25 Charles Rosen regarded the...
Journal Articles
19th-Century Music. 2019; 43263–66 doi: https://doi.org/10.1525/ncm.2019.43.2.63
Published: 01 November 2019
... our inner mind without reference to objects, but only by their form. 5 Such mental purity, a kind of acoustic hygiene isolated from material contact, would intrigue later thinkers. Four years later, Christian Friedrich Michaelis marveled at the paradoxical condition that sound was sensi- ble yet...
Journal Articles
19th-Century Music. 2019; 432121–139 doi: https://doi.org/10.1525/ncm.2019.43.2.121
Published: 01 November 2019
... of Brentano s phi- losophy, phenomenology, Gestalt theory; for further nuan- ced views in this matter, see Mitchell G. Ash, Gestalt Psychology in German Culture, 1890 1967: Holism and the Quest for Objectivity (Cambridge: Cambridge 19th Century Music, vol. 43, no. 2, pp. 121 139. ISSN: 0148-2076...
Journal Articles
19th-Century Music. 2019; 43267–85 doi: https://doi.org/10.1525/ncm.2019.43.2.67
Published: 01 November 2019
... a species [especie] without rea- son or foundation. . . . Also signifies extravagance or caprice. Here, especie signifies an image or idea of an object that is represented in the soul. 20 Already in 1694, French dictionaries included manie as a heightened form of folie or fureur, such as...
Journal Articles
19th-Century Music. 2019; 43286–98 doi: https://doi.org/10.1525/ncm.2019.43.2.86
Published: 01 November 2019
...., n.d 17Ibid., iv and x xi. 18A kaleidoscope is an optical toy that creates visual effects through a combination of a randomly changing arrangement of small objects and a system of mirrors. It can be seen as an example for the mechanical creation of unpredictability for aesthetical purposes. 19For a...
Journal Articles
19th-Century Music. 2016; 402131–158 doi: https://doi.org/10.1525/ncm.2016.40.2.131
Published: 01 November 2016
... conventions of the féerie and challenged its first audience just as much as its immediate predecessor, The Sleeping Beauty . To this day, writers object to the original libretto's uneven distribution of pantomime and dance and its lack of a coherent story, of continuous development, and of a satisfying...
Journal Articles
19th-Century Music. 2019; 43138–60 doi: https://doi.org/10.1525/ncm.2019.43.1.38
Published: 01 July 2019
Journal Articles
19th-Century Music. 2019; 43117–37 doi: https://doi.org/10.1525/ncm.2019.43.1.17
Published: 01 July 2019
Journal Articles
19th-Century Music. 2019; 4313–16 doi: https://doi.org/10.1525/ncm.2019.43.1.3
Published: 01 July 2019
... with a very slow tempo a stretching of objective time. This is an interpretation that almost cer- tainly stems from a performing tradition of Aus Liebe as a slow piece. Earliest Concert Performances and Published Scores The nineteenth century s first performances do not appear to have taken this view...
Includes: Multimedia, Supplementary data
Journal Articles
19th-Century Music. 2019; 423184–224 doi: https://doi.org/10.1525/ncm.2019.42.3.184
Published: 01 April 2019
... considered to function as a guarantor of both the works unity and its individuality.48 On a basic level, Marx associated the Idee with extramusical repre- sentation of anything from subjective feelings to objective events, and he viewed the develop- ment of music as the gradual elevation of the prominence...
Journal Articles
19th-Century Music. 2019; 423157–183 doi: https://doi.org/10.1525/ncm.2019.42.3.157
Published: 01 April 2019
... reception history of the song as my object of analysis: film stagings of nineteenth-century amateur parlor performances of the song. I focus on these film representations for a number of reasons. First, such film scenes contain vivid audio and visual materials, which allow for readings of individ- ual...
Journal Articles
19th-Century Music. 2019; 423225–248 doi: https://doi.org/10.1525/ncm.2019.42.3.225
Published: 01 April 2019
Journal Articles
19th-Century Music. 2018; 42273–95 doi: https://doi.org/10.1525/ncm.2018.42.2.73
Published: 04 December 2018
... relation to those trapped within their vision, aiming to comprehend the ways in which Oth- ers have been animated or made to speak from without.18 For de Certeau, the discourses that express and circumscribe alterity belong inex- tricably to historians and ethnographers and not to the objects of their gaze...
Journal Articles
19th-Century Music. 2018; 422123–154 doi: https://doi.org/10.1525/ncm.2018.42.2.123
Published: 04 December 2018
... glorious when it reached up into the golden semi-dome.26 23Anon. Quoted in Dakers, The Holland Park Circle, 27. 24On the architectural design, objects, and furnishings of the house beautiful, see the essays collected in The Cult of Beauty: The Victorian Avant-Garde 1860 1900, exhibition catalog, ed...
Journal Articles
19th-Century Music. 2018; 42296–122 doi: https://doi.org/10.1525/ncm.2018.42.2.96
Published: 04 December 2018
... conceived the score.58 The American soprano s interpreta- tion, which was much anticipated, was the object of numerous comments, especially about Sanderson s extremely high notes, which the critics enjoyed comparing to the height of the Eiffel Tower (which had been inaugurated the very morning of the...
Journal Articles
19th-Century Music. 2015; 39287–98 doi: https://doi.org/10.1525/ncm.2015.39.2.87
Published: 01 November 2015
... number of such projects converged on Woolwich, an experimental space where new scientific and musical regimes emerged. The “calculating eye” secured authority by presenting science as objective and freed of emotions, but music's ability to evoke emotions was powerful. Thus, while music was a resource for...